shift racing


Clearing out the cobwebs in my mind. Rearranging my thoughts. Evaluating my self-talk. Finding space in the moment.

A few months ago I found a fire in my belly to live authentically and I kicked into motion with passion and desire. Soon I stumbled I found myself drawn back into the selfish desires of the world. The stress and rat race. The shift of power brought fear and darkness into my heart. I kept pushing myself to keep up and be the best for the world and not for myself and the people who matter most to me.

A shift is coming I am focusing on my intentions and desires. I want peace and happiness for my loves. I crave travel and financial stability. I seek adventure and good health. I release all that does not serve me. I want to live in the moment, allowing each pleasure and challenge to flow through my body. I want to have my passion ignited and soar into a new space of growth. I crave enlightenment.

I will set my vision in my mind. I will meditate on it..focus on it’s power. Release the last few weeks of karmic cleansing and find positivity.


Blackhawk Museums Speaker Series: David Hobbs: “Race Car Drive & Commentator” from Blackhawk Museum on Vimeo.

There is very little that David Hobbs hasn’t accomplished in racing, both overseas and stateside. Born in Warwickshire, England, in 1939, Hobbs was in the front rank of British drivers who came to prominence during the 1960s. He got his start driving a Lotus Elite fitted with an automatic transmission designed by his father, which won its class at the Nurburgring 1000km in 1961, believed to be the first international win for a self-shifting race car. He went to Le Mans as a driver for the works Triumph Spitfire team shortly thereafter.
He drove the first Lola GT, the forerunner of the Ford GT-40, at the Sarthe in 1963, and was a team driver for the John Wyer stable of Ford GTs that won the 1969 world championship, David along with co-driver Mike Hailwood drove a Gulf GT40 to a third-place finish at Le Mans in 1969. Hobbs would go on to race at Le Mans a total of 20 times. He made his Formula 1 debut in 1966, notched 22 North American victories in Formula 5000, raced in the Can-Am series, ran the Indianapolis 500 four times with a best finish of fifth, earned 11 wins in IMSA with two podium finishes at Le Mans in the same timeframe, and took the 1983 SCCA Trans-Am championship. Since retiring from driving, Hobbs has been a frequent TV commentator on racing, working for CBS Sports, ESPN, and his current assignment as a Formula 1 analyst on NBC. David appeared in the Cars 2 movie, which premiered in June 2011, as announcer “David Hobbscap”, a 1963 Jaguar from Hobbs’ real life hometown in England.

anonymous asked:

"She's not the Beatles". While i fully agree that Beyonce's worshippers are embarrassingly oblivious to the fact that she's not all that, i must say: the Beatles are like poster children for mediocrity. Subpar singers/musicians at best, dated meaningless lyrics and they only followed preexisting pop music trends. Absolutely nothing about them was ever revolutionary or ground breaking. They were meh with a strong publicity department. Macca was sorta good tho but the Beatles were ok-ish at best.

I don’t really have a disagreement that wouldn’t amount to my personal taste. However Beyonce is merely today’s current fad due to the progressive stack shifting to favoring race.

Dead Natural {34}

Reader x ?

Warnings: Swearing, Panic

Words: 1,741

Previous Parts: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25,26, 27, 28, 29, 30, 31, 32, 33

Dean’s not doing so hot. Is there a way to save him without Cas’s help? Or will the reader have to watch him slip away?

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The dominance of “Hamilton” in the new-musical category has shifted interest to other races, prompted a rethink of seasonal customs and even led one largely new show to seek categorization as a revival instead — all part of what might be called “The ‘Hamilton’ Effect.”

As it delights the American public, the idea of rapping founding fathers is doing something very different to the people who work on Broadway: furrowing their brows.

“What we all have to do is look at the assignment differently,” said Rick Miramontez, the veteran strategist behind Tony winners “Kinky Boots” and “Avenue Q” who this year counts the Andrew Lloyd Webber musical “School of Rock” and the Steve Martin-Edie Brickell bluegrass piece “Bright Star” among the shows whose campaigns he’d be leading. “You’re not going to win the medallion, but that doesn’t mean the ante isn’t upped in a lot of other ways.”

Barely once each Broadway generation — “A Chorus Line” in 1975, “The Producers” in 2001 — a juggernaut so powerful comes along that it causes competitors a brief moment of despair. And then, just as quickly, it sets off a round of tactical maneuvering.

By generating so much attention on the race and the Tonys telecast — which has struggled to attract viewers in the last few years — “Hamilton” has ensured that a nomination will be more valuable this year.

That’s critical for shows such as “Waitress,” the adaptation of the feel-good indie film, which opened last week and is looking to seize ticket buyers’ attention.

And it has offered hope and incentive to the modestly performing “Bright Star,” whose theater was at a mediocre 70% capacity last week, as well as the tepidly reviewed macabre musical “American Psycho” and the children’s fantasy “Tuck Everlasting.” All could use a splashy spot in a highly rated Tonys telecast to help its prospects both in New York and on potential national tours. In the cutthroat world of modern Broadway, in which a Tonys nomination in any year can be a shot of adrenaline, this year it could be life-or-death crucial.

Don’t, however, tell that to some show creators.

“In a weird way I’ve found it all kind of liberating,” said Diane Paulus, the acclaimed director who brought “Waitress” to Broadway. “It’s like, 'OK, we know where this [awards] story is going to end. So let’s just focus on making our show great.’ ”

But others are seeing the “Hamilton” dominance and recalibrating their strategy. At least two musical insiders who requested anonymity because they were not authorized to speak about budget matters said that post-nomination print ads aimed at voters — a staple of Tony season — will shrink as shows that have no chance at toppling “Hamilton” instead spend their money on consumer-targeted ads, such as broadcast-TV commercials.

Nor is the effect limited to dollars. The inevitability of a “Hamilton” best musical win when the American Theatre Wing and Broadway League hand out their Tonys at a James Corden-hosted ceremony June 12 is channeling interest to other races — especially musical revival.

Long a second banana to the top prize, musical revival this year is bringing a flood of interest. The Jennifer Hudson-Cynthia Erivo reprise of “The Color Purple,” coming just a decade after the original opened, is considered a front-runner, followed closely by inventive new stagings of “Fiddler on the Roof,” “She Loves Me” and “Spring Awakening,” the last of which comes from Deaf West Theatre, the North Hollywood company specializing in casts that include hearing-impaired members.

In part because the field is deep but also because revival is the lone truly competitive musical race, the approximately 860 Tony voters and the larger Broadway community are debating contenders more closely than they otherwise would have.

“The drama,” said Ken Davenport, the producer of “Spring Awakening,” “is suddenly in revival.”


The show has prompted some veterans to be creative. Miramontez, for instance, noted that with the “Hamilton” songs so acclaimed, the trick has been to remind voters early and often of the well-regarded “Bright Star” music, so that the songs are not swarmed under in the room where it happens. He and staffers, in turn, have embarked on a multitiered campaign to get the music to voters.

Others, meanwhile, note that the larger “Hamilton” legacy should be kept in perspective. The biggest effect the show exerts this season may not be what contender it crushes but, rather, how the production motivates Broadway insiders.

“In our world, where so much of theater is about movie studios producing shows or about celebrity-driven revivals, here’s a show that independent producers can look at and still see what’s possible, can see why we got into the business,” Davenport said. “For someone to do an innovative musical with a wildly diverse cast and have it succeed this way, that’s a little crazy. That’s what I keep trying to remember.”

As the presidential race shifted to Nevada with Democratic caucuses last week and Republican caucuses Tuesday night, more young voters had a chance to chime into the political process. Nevada is a state with a huge young, diverse population.

But, of course, there is the perennial question: Do young people matter in politics?

Millennials (born between 1982 and 2000, according to the Census definition) are the largest generation in the country. With an estimated population of 83.1 million, they now outnumber baby boomers. But, in the last election, they had the lowest voter turnout of any age group.

That’s partly because political campaigns aren’t tapping into the potential power of young voters, according to Kei Kawashima-Ginsberg, the director of CIRCLE, the Center for Information and Research on Civic Learning and Engagement, at Tufts University.

The main conclusion for Kawashima-Ginsberg was that young people, when they’re actually targeted, can help win elections — especially in these 10 states, ordered from least important to most important in terms of youth vote.

The 10 States Where Millennials Could Sway The Election

Chart: Alyson Hurt/NPR

Smarter Than I Look

A/N: This is the first time I’ve ever done imagines, or anything xreader, so bear with me. :)

Imagine that you’re the bartender who Reid gave his number to, and his surprise when you call him. 

(Your POV)

I watched him walk away, pretty intrigued. I smiled to myself. We don’t get many like him in here. Actually, we don’t get any, and I found myself wondering if anyone like him even existed. He’d been so polite and obviously intelligent, not to mention adorably awkward. I picked up the card with his number on it and breathed a surprised laugh when I saw what was written on the back. 


He’d written his number in Roman numerals, which only served to make me like him more. I checked my watch and realized that my shift was over. I raced through the motions of clocking out and gathered my things. Once I got out to my car, I pulled out my phone and flipped it open. I didn’t have to hesitate as I read and dialed the number on the card. 


It rang four times, and then the voice of a certain Doctor Reid came over the line. 


He sounded cautious and curious all at once, and I wondered if he always sounded that way when he answered a call. 

“Hey, Doctor Reid,” I replied. “This is (Y/N), from the bar.” 

There was a moment of silence. 

“Wait, the one that I gave my number to, less than ten minutes ago?” he asked, sounding astonished. I smiled, pleased with myself. I got the feeling that he wasn’t the easiest to surprise. 

“The very same,” I confirmed. 

“You-you read?” he stammered, seemingly trying desperately not to insult me with his shock. I laughed. 

“Yes,” I said. “I can read Roman numerals. Very clever, by the way.” 

“I, um…thank you,” he said. “I honestly didn’t-”

“Expect me to call?” I filled in. “Well, expect the unexpected, Doctor Reid,” I teased. 

“You can-it’s Spencer,” he said. “And I am impressed.” 

“Just because I’m a bartender doesn’t mean I’m stupid,” I laughed.

“Oh, no, no, I didn’t mean that at all,” he told me in a rush. “It’s only that a very small percentage of the population can actually read Roman numerals without looking them up,” he said, and paused.

“Did you look them up?” he asked.

“No,” I said with a smile, “I didn’t.” 

“Okay, good.”

“So, Spencer,” I began. “I was hoping you would be willing to have coffee with me sometime.” 

“I would love to.” 

I smiled to myself. Finally, a guy who wouldn’t make my IQ drop after a two-minute conversation. 

This looked promising. 

See Every Term the US Census Has Used to Describe Black Americans

Especially notable is that before 1960, Americans didn’t even have the option of picking their own race; it was the census taker’s job to do it for them. Which means that in 1890, for example, census takers were tasked with figuring out whether multiracial families counted as “mulatto,” “quadroon,” or “octoroon.”

It’s another illustration of how our understanding of what race is, and who belongs to which race, keeps shifting over time — even though people of every era are convinced that the racial divisions of their era are just scientific fact.


Her head swam, and the sept seemed to move around her. The shadows swayed and shifted, furtive animals racing across the cracked white walls. Catelyn had not eaten today. Perhaps that had been unwise. She told herself that there had been no time, but the truth was that food had lost its savor in a world without Ned. When they took his head off, they killed me too.

  • Post from POC: Black women/men are beautiful.
  • White Person: Don't you mean ALL people are beautiful?
  • White Person: -posts a comment that tries to shift the entire focus onto white people but tries to act like they're shifting it to all races so cover it up-
  • White Person: I hate that Tumblr excludes people ugh this website is so annoying
  • White Person: -posts a bunch of stats from google that show how this post isn't true-
  • White Person: RACIST!
  • White Person: -reblogs to act like they agree when in reality they want to feel included in the post-

12 stunning portraits from Dr. Yaba Blay and Noelle Théard’s (1)ne Drop: Shifting the Lens on Race project

How do you define a racial identity? Can “blackness” be defined simply by a person’s skin tone, hair texture and facial features? Can we define it by the way someone walks or the way they talk? Can it be a product of someone’s cultural affinities, regardless of what she looks like?

These are the questions that Dr. Yaba Blay and photographer Noelle Théard encourage us to wrestle with in (1)ne Drop: Shifting the Lens on Race. Featuring the perspectives of 58 people who identify as part of the larger “racial, cultural, and social group generally referred to and known as Black,” the book combines candid memoirs and striking portraits to explore the complexities of Black identity and celebrate an individual’s right to self-identify.

(1)ne Drop’s title derives from the “one-drop rule” — a (successful) attempt to define blackness in America as one drop, or at least 1/32, of Black ancestry for the economic, social, and political purposes of distinguishing a Black person from a White person. I say “successful,” because the one-drop rule still holds cultural weight today, especially with regard to how we value light and dark skin. For this reason, Dr. Blay aims to “challenge narrow yet popular perceptions of what Blackness is and what Blackness looks like.”

See more photos and the quotes from the above subjects

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I Got It Honest

by: Yaba Blay

Last night I gave a public lecture about my book, (1)ne Drop: Shifting the Lens on Race. The lecture was hosted by Delaware State University, the school where I began my college education, the school where my father, the original Dr. Blay, continues to teach. During the Q&A, we discussed a variety of related topics, including the seemingly tenuous relationship that we Black women have because of skin tone. Jigaboos vs. Wannabees. #TeamLightSkin #TeamDarkSkin “Oh, she think she cute!” You know the drill. A beautiful young woman, wearing the same skin as me, stood up and said, 

Speaking for dark-skinned women, I think we all probably grew up wanting to be light-skinned with long hair, and going through that period where we didn’t think we were pretty. How did you grow out of that? How did you become so confident?”

I had to pause before answering because nowhere in my recollection could I remember wanting to be light-skinned. In all fairness, I do remember wanting to be lighter than I was, but even that newfangled mirage was brown. As I looked out into the audience and gathered my thoughts, seeing my mother and father in the audience reminded me of how I got here. I’m here because of them.

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